Category Archive: collectives
2013 was an interesting year for me, full of travel and new experiences. I was able to see a couple of stories I’ve been trying to produce for years turn into full pieces in major magazines. I was also thrilled to join Boreal Collective, where I will be collaborating with fantastic photographers and good friends of mine. We have a lot of exciting plans for 2014, and you can follow us on twitter or facebook. Another high moment from last year was exhibiting my work “Only Unity” in Belgrade, Serbia in November. It was the first complete solo exhibition of the project I’ve been working on for the last seven years.
It has been a year to take stock and think about how to present the work that I’ve completed in my time living in Serbia and start to plan what comes next.
Today, weeks late as is my tradition here on dvafoto, I present 25 of my favorite images from the last year, presented chronologically. Now I can’t wait to get started on new projects and new endeavors in 2014.
You can follow my work more regularly through my tumblr: onlyunity.tumblr.com and on instagram: @mattlutton. Here are some of the other major happenings in my life and work last year, some of which showed up in my slideshow above:
I completed a story that I’ve been looking in to for the last year about segregation in Roma communities in Slovakia, which sometimes takes the form of construction of barrier walls separating Roma communities from Slovak neighborhoods. The project was commissioned by Vice Magazine and published in April as “The New Roma Ghettos: Slovakia’s Ongoing Segregation Nightmare” alongside an incredible story written by Aaron Lake Smith. More of the project can be seen on my website.
In April I attended the first New York Photo Review organized by the New York Times and James Estrin of the NYTimes’ Lens Blog.
I spent June traveling around Croatia and Serbia for the Dutch travel magazine Columbus. It was great to get off my normal beat in the Balkans and see some beautiful sights and eat very well, especially in Central Serbia near Uvac Canyon. The photographs from Croatia are now available in my archive.
While photographing for Burn I visited Istanbul, Turkey for a friend’s birthday and promptly found myself photographing street skirmishes relating to the Taksim Square / Gezi Park protests we wrote about in mid-June. It was my first real experience with tear gas and rubber bullets, giving me a new perspective on the work all of our colleagues who work in these situations regularly. It is not easy.
In August and October I was reporting in Sarajevo, Bosnia and Hercegovina for the Chronicle of Higher Education for a piece that was published as “The Science of Hatred”. My pictures and work was published alongside Tarik Samarah’s photographs from Srebrenica.
My exhibition at the ArtGet Gallery, part of the Belgrade Cultural Center, was a part of Raw Season organized by the collective Belgrade Raw, who I interviewed on dvafoto in 2009. The series of exhibitions this year included shows by very talented friends of mine, including Donald Weber (who was showing his project “Interrogations”) and Pete Brook (who exhibited ‘Seen But Not Heard’: Photos from US Juvenile Prisons.). It was tremendous fun to show them around Belgrade when they were in town for their openings.
The year concluded with an opportunity to see through another story I’ve been interested in for years, and to do it alongside my friend and fellow Belgrade foreign correspondent Andrew MacDowall. The Financial Times commissioned us to produce a audio-visual slideshow in Bosnia and Hercegovina about the unique relationship between a iron ore mine in the Republika Srpska village of Omarska and a smelter in the Federation city of Zenica. The piece which was published online as “Zenica partnership helps banish ghosts of Omarska” as part of their annual Connected Europe magazine. More images from this piece are also available on my archive.
See some of the presentations of these stories in print and pictures from my exhibition on the published work section of my website.
Thanks everyone, and see you around dvafoto this year!
Prasiit Sthapit is a photographer based in Kathmandu, Nepal. I was introduced to his work by Sohrab Hura recently as he wanted to share some of the work of photographers he had met and tutored at a workshop in Kathmandu last fall. Sthapit’s project “Change of Course”, presented as an multimedia piece, immediately impressed me. Striking pictures mixed well with gorgeous music and documentary audio; it is evocative storytelling for such a hard to illustrate political and climate change story.
The story is also presented simply as photographs and text on his website, and you can get a chance to admire the quiet, intimate photographs themselves. Sthapit also describes the project as a work in progress, and that we will see more family photographs and found objects along with the photos of the place.
Change of Course
“We fought a lot for Susta, we suffered a lot in Susta. We didn’t know when we would be killed. Even after all that, we survived. But in the end, Gangaji swept us away,” Rajkumari Rana (Muwa), reminisces. I met Muwa, 79 years old and blind, at her house in Keulani,Triveni. She was one of the first settlers of Susta. Having come here from Kathmandu with her daughter and a small bag of belongings in 1967, she worked as a schoolteacher, headmistress, local leader and also as night patrol. She remembers times when even women had to patrol at night, with sticks in hand as protection against dacoits from Bihar. There had been numerous clashes in the past, which had wounded many and killed some.
Susta was once perched firmly on the west bank of the Narayani River, which has long been considered the border between Nepal and India. But with the river changing course, and cutting persistently into Nepali territory, the village today finds itself on the east of the Narayani. India maintains the new course of the river as the boundary while Nepal disagrees, making Susta a small, contested portion of Nepal within India, surrounded on three sides by Indian land, and on the fourth by the Narayani. The original settlers now express anger at the fact that they have been sidelined by both India and Nepal.
The flood of 1980 shifted the land to the east, displacing the whole village in the process. Muwa was among the displaced. The government gave each family a small plot of land in nearby villages of Triveni Susta VDC for temporary settlement, but this generosity was limited to those with Nepali citizenship. There were quite a few who were originally from India, and others needing a place to hide.
After the floodwaters receded, the people who were not given land parcels started returning to Susta, although it was now nothing but sand and rocks. They worked in these barren conditions, trying to get whatever little they could out of the land. Meanwhile, the Border Security Force of India was gradually preparing to encroach on Susta. It is estimated that 14,860 hectares have been appropriated through Indian encroachment thus far.
Dva: How did you come to produce “Change of Course”?
Sthapit: This project was first conceived for an exchange programme between Oslo University College, Norway, Pathshala, Bangladesh, Drik India and photo.circle, Nepal. I had already thought of it as a long term project and later on while the project was ongoing, Sohrab was also very much involved with the editing and the look of the project. (we had a workshop with Sohrab on September, 2012). He also gave me a lot of insights on how to continue the project further. By the end of the workshop with Sohrab we had to come up with somesort of a presentation and he suggested I do a projection.
How did you decide on the format of this video, with sound and audio and stills-as-motion? Are you showing it any other way, such as an exhibition of single photographs or some other medium?
While I was out photographing the place, I didn’t have anything concrete in my mind (I wanted the experience there to guide me along the way) so I collected everything that caught my interest. I recorded interviews with the people because even though I try to share my own experiences with the people there, I want them to speak for themselves. Sound is also a very important element in the whole story, if not the most important one. The family photographs also do the same. Photographs in the villages are prized possessions, they cherish these pictures. This is the way they want to be portrayed. The story is currently being exhibited as a print exhibition in Kathmandu International Art Festival, Kathmandu which also includes sound installation. The sound used in this is different than the one in the video.
Can you tell me about the music you chose?
The song that goes as the background is by a Nepali neo-folk band called ‘Night’. The song talks about the flood that waged havoc in Nepal in the river Koshi a few years back. I thought it would be appropriate for the piece and the music felt just right. As it doesn’t over power the piece with overwhelming sadness. I felt the sounds, the voice and the music gave a sense of community, a village.
Prasiit Sthapit is a Kathmandu-based visual storyteller whose work deals with societies at the borderline, both literally and figuratively. Through photography, he chooses to show the experiences he has shared with the people he has met, and what they mean to him. He graduated from Manipal Institute of Communication, India with a Bachelors in Arts (Journalism and Communication) and was the recipient of the Dr. TMA Pai Gold Medal for Best Outgoing Student, 2010. He is associated with Photo.Circle, an organization working towards building a strong community of visual storytellers in Nepal, and Fuzz Factory Productions, a multimedia collective.
In May we interviewed the Serbian photo collective Kamerades and showed pictures from their group project about the Serbian elections called Dirty Season. This week Saša Čolić released his short film that is part of the same project. The film “is aimed at bringing attention and addressing the causes and reasons for apathy and desolation within the Serbian political process. This is also part of a global problem of voters disinterest and apathy in the political dialog.”
Filmed/Directed by: Saša Čolić / Kamerades
Script: Danka Sekulović
Editing: Maja Yuill and Jelena Vidaković
Project coordinator: Photography Development Center
Kamerades is a new collective of photojournalists based in Belgrade who have come together to help develop independent photography in Serbia and to work on group projects documenting contemporary stories. They are currently working together to photograph the Serbian presidential and parliamentary elections, which will take place on Sunday May 6, 2012. These six photographers are contributing their own hard-edged and sardonic vision of the Serbian electoral process and how it reflects Serbian society. They call the project “Dirty Season”.
I think it is an important step for this group and Serbian photography in general to work on such collective projects, with financial support, and to have a community of like-minded photographers working together to get photographs published in their own voice. It is not easy, especially not here, but I admire their energy and efforts. With this in mind I had a few questions for the Kamerades crew about their formation and backgrounds. Given the timeliness of their new project with the elections this week, I chose not to show a portfolio of their work but this current electoral group project which I am so excited about. It is an incredible portrait of Serbia during this election cycle.
Kamerades is Saša Čolić, Nemanja Jovanović, Milovan Milenković, Nemanja Pančić, Marko Risović and Marko Rupena. As a group they regularly post to the Kamerades Blog including updates to the Election story, which they present without captions or credits.
So how did this group of photographers come together? Where did you meet?
Jovanovic: Marko Risovic, Milovan Milenkovic and I participated in a photography lecture supported by World Press Photo back in 2009. That was the first time that we showed some of our work to a group of people larger than three. I was swept by Marko [Risovic]’s Legionnaire story for example and one thing led to another. Milovan suggested that we meet and talk about doing “something” for Serbian photography, even if it means taking only baby steps. After two years of meeting in various pubs and places that would be too generous to call restaurants, speaking and inviting over 20 people to join us, this is what came out of it.
Pancic: Milovan Milenkovic and Nemanja Jovanovic initiated the idea that after our work when we have free time, we can meet at the pub and discuss our work. At first point it brought together a large number of photographers, but over the time there were six of us remained and those were the most persistent ones. During this period, which lasted some two years, we have become a collective. It’s started to affect in a positive way to all of us as photographers, but we also became close friends. In the end we decided to launch a website that allowed us to show our work to the public.
What backgrounds as photographers do you have? Freelance, agencies, newspapers?
Jovanovic: Probably every possible background you can think of! In Serbia, you don’t get a paycheck doing and specializing in only one kind of photography.
Risovic: All of the guys in Kamerades collective were working for Media outlets at some point. At the moment few of us are trying to freelance. In Serbia. Can you imagine?
Pancic: Some of us are working in the agencies, some try to be freelancers, and some in the press.
Was there a moment when this group came together and decided that it was time to work collectively? What was it? What gave you guys the idea to work together?
Jovanovic: Yes. The idea was not so clear in the beginning, but it was there all along. From start we were determined to “push each other forward” and to try to do what we like for no other reason. No money, no awards, fame or glory were important, only escaping our everyday routine which included participating in the inevitable decline of journalism, photojournalism and photography in Serbia. The collective came as a logical solution.
Risovic: Being colleagues, working next to each other for years, we were silent witnesses of degradation of photojournalism in Serbia. We realized that sitting and despairing doesn’t lead us anywhere. So, we decided to pursue some action, and besides hanging around, talking and drinking in the pubs, we tried to be constructive. As Nemanja said before, it was a process, but it was clear from the very beginning that we all have common goal.
How did the website come together? What are you hoping to accomplish with the website (that is, to sell work? to share pictures? promoting yourselves, promoting Serbia, just looking bad-ass, etc.)? Where did the design and logo come from?
Jovanovic: It took some time. We are not experienced in that kind of stuff, so we were learning the basics, step by step. We were lucky enough to be 6 people with completely different interests, knowledge, personalities, approach in photography, but we somehow clicked perfectly together, and it resulted in the fact everybody got their part of job. Mostly Sasha who whipped and pissed off rest of us (or, took the piss out of the rest of us), and Milovan who did logo and design details after approximately nine million e-mails and discussions about the same issue. Also, we had a lot of help from friends, like our colleague Darko Stanimirovic who did the website. A lot of people gave different advices, Matt Lutton among them [ed: happy to help guys!], Donald Weber from VII agency and our friends photographers, designers and editors from Serbia and abroad.
Selling our work is every photographer’s job of course, but with this portfolio we mostly seek attention and hope to sell something in the future, maybe to get some assignments that would suit our style/wishes. And looking cool is one of the goals, of course! We are pretty much terrible musicians and we couldn’t be rock stars, so we took cameras. Chicks love it!
Pancic: As I said before, the website has come as a result of our meetings during the past two years. One idea that keeps us together is that we want to show our work to world around us, we believe that as a collective we have a better chance to get more publicity and through joint actions provide us new projects. Logo design came from a smart push by Milovan Milenkovic, multitalented and good looking guy.
Risovic: Basic thing that bothered us from the beginning was the fact that when you simply google documentary photography and Serbia together, you don’t get any of the serious websites with representative work. There are great documentary photographers and photojournalists in Serbia. Believe us! We hope to change this with our website. And to look badass, it goes well with the fame.
Read on »
On October 15, 2011 there were riots in the streets of Rome, as part of the current wave of anti-government protests happening worldwide. An estimated 200 people were injured and 12 arrested in an unusual provocation compared to many Western protests (like the “Occupy” protests in the United States), which were relatively quiet.
Our friends at the Italian collective Cesuralab have published an interesting portfolio of the events, and I wanted to ask about their perspective on covering such a story in their own country, after a year of photographing protests and revolutions elsewhere in the world. Last year we talked about Cesuralab covering an earlier anti-Berlusconi riot, and in February showed amazing pictures from Cairo by Alex Majoli and Gabriele Micalizzi. In June 2010 we also interviewed Cesuralab about their collaboration.
Could you give me some background on what is happening in Italy these days, what is inspiring these protests? I know there were protests in the last year, that also had some violence. Why is there violence in Italy now when there is not so much in other western countries?
The social and political situation is really dramatic. Our prime minister is a living joke (think about the whole escorts thing and the bought votes, for instance), unemployment is at maximum level since the postwar period, fiscal pressure is very high, retirement age is increasing, and the young people have no future, just the fact to leave parents’ house seems something unrealizable.
The reason of all this violence exploding is certainly that the situation is really critical, but you have to take in count that there’s always infiltrations in this kind of events: hooligans, extreme right parties, police…they are often the ones who let everything starting. In this last case you could notice a very serious organization of the centri sociali (leftist activists) and the clear fact that the police was allowing vandalism. I mean, it was necessary to create a media distraction to cover up what’s going on in our Parliament’s house. I don’t think that Italy is the only nation in such a situation; if we consider Greece, where you can find in the streets people from any social class and age that throw molotov, and not just a bunch of anarchic kids. And in Spain and Portugal the situation is not easy either, something is gonna happen there soon as well, the “indignados” movement is already a very interesting reality.
As far as I know, you both have photographed some of the “Arab Spring” events, the rallies and the battles. How does this overlap, or does this have anything to do with, your pictures from Italy? What is it like photographing dramatic events abroad and then photographing similar scenes at home?
We actually wish that what happened in Tahrir square could happen in Italy as well; that was a real revolution. Leisure prevents the deep dissent to come to life: the dissent that drives people to risk their life to change things. I don’t think we will ever see an Italian running throughout the bullets as the Egyptian people I’ve seen in Cairo.
After the demonstration here everyone goes back home as they went to a concert or at the stadium, no one stays and keeps going with the guerriglia to obtain what they ask for.
Beside this, in terms of feeling, the pathos is the same, the anarchic mood of the violent protest is something that fills any kind of contest, religion, territory, culture, etc..
What can you tell me about how Cesuralab is covering these events collectively? There often are many Cesuralab photographers covering these events, in North Africa or in Rome for instance, are you working together on the street? Or editing together? Do you publish together?
We always try to find a way to be more than one while reporting on these kind of events because it’s quite difficult to cover the event completely if there are many people and a lot of things going on in an extended area.
What is important for us is to cover the event and preserve the quality of the work, we do not care about ‘who’ rather about ‘how’.
We generally split up in different areas, except for special situations, also because we have very different way of working. At the end of the day we edit the work together and we plan the [distribution] to certain magazines we want to work with. The work is in this way collective because every single member of the collective interacts with the other in different ways, and we deeply believe in each other potentiality. Our approach to photography is structured to create a story and not to satisfy the editorial market needs. We carry our thoughts and philosophy and try to pass it down to the people that collaborate with us.
has just published will soon release a new book, Questions Without Answers: The World in Pictures by the Photographers of VII, and it looks like a doozy. Collecting the work of all of the full members of VII (less one James Nachtwey, who recently announced he has left the collective), the book is a compendium of stories from the past 20 years relating to our current political, social, and economic atmosphere. This book follows in the footsteps of previous VII joint publications such as War: USA, Afghanistan, Iraq and other books available in the VII store.
By the way, if you buy the book through Amazon, or anything else, after clicking the links above, dvafoto will get a small percentage of the purchase price that we put toward the cost of running the site. Thanks for the support!
Matt Lutton and M. Scott Brauer are currently in the United States and will be visiting New York City together from Tuesday May 2 through Friday May 6th. Both will be sharing recent work and new projects. We already have some fun work meetings set up and are excited to see old friends and colleagues. We are also planning to meet at The Half King on Wednesday night to see everyone. If you’re in the city, be in touch and/or check here for final details.
It has been a couple of years since the two of us been able to meet up and we haven’t been in New York together since 2005, when we were both interns at Black Star. It’ll be a nice reunion and potentially the start of some interesting collaborations.
We already have most of our meals (Uighur! Momofuku! Matt is aching for variety after months in Belgrade) planned out and a few shows we want to see (like Revolucion(es) and Shen Wei at Daniel Cooney). And of course a pilgrammage to Dashwood Books. Any recommendations for shows happening these days that we can’t miss?
At the end of the week, Lutton is headed back to Belgrade and Brauer to Boston.
All this month M. Scott Brauer and Matt Lutton, as Dvafoto, are taking part in the exhibition “Mapping the Flâneur” presented by Collectives Encounter at the Format Photography Festival in Derby, UK. It is an innovative group exhibition/installation of work submitted daily from photography collectives from around the world, and runs through April 3rd. The project features some old friends like MJR, Belgrade Raw and Wideyed (who helped arrange the project) alongside a number of other interesting collectives that we’re just getting to know. The complete list of participating groups is here.
The Mapping the Flanuer Tumblr site shows a feed of all of the images in the project, which are submitted by individual photographers in the collectives relating to the common ideas of “Consuming”, “Transporting” and “Urbanising”. But the best way to see the project is to visit the exhibition, this is all about seeing real photographs alongside other real pictures. But if like us you can’t make the trip to Derby you’ll have to settle for a video showing the installation.
This is an exciting step for Dvafoto and hopefully the first in a series of collaborative photography projects between Brauer and Lutton, something we’ve been working towards slowly for many years. Thanks again to all the folks at Wideyed, Collective Encounters and the Format Photography Festival for making this project come together.
This morning I saw Newsweek’s gallery of remarkable images Alex Majoli took in Cairo last week: “The Agony and the Ecstasy”. A few minutes later I got an email from a friend at Cesuralab inviting me to look at a series of pictures by photographer Gabriele Micalizzi also from Egypt. We’ve written about the collective Cesuralab before, including an interview from last year, and their art director is Majoli. But Micalizzi’s work is also tremendous. I’ve been waiting to see work like this from Cairo.
Be sure to check out Micalizzi’s other projects, including his recent work in Tunisia and pictures from the Bangkok Turmoils on the Cesuralab site. Newsweek also recently published a portfolio of Alex Majoli’s work from Tunisia “Postcards from a Revolution”, and a joint gallery of Alex Majoli and Paolo Pellegrin in Egypt from before Mubarak’s abdication. Clever, these Italians. Terrific work all around.